A Measure for A Measure Review

Shakespeare’s ‘problem play’ continues to cause problems at the Royal Shakespeare Theatre.

A Measure for A Measure Review

Currently running at the Royal Shakespeare Theatre, A Measure For A Measure, commonly known as Shakespeare’s ‘problem play’, is taken into the Vienna of the early 20th century by director Gregory Doran. In a time in which ‘lechery’ and sex work is being clamped down on by the deputy mayor Angelo (Sandy Grierson), a young nun Isabella (played by Lucy Phelps) struggles with how to respond to Angelo offering to save her brother Claudio (James Cooney) in return for sex.

The task of adapting this play is admittedly a tough one, and there are several ostensibly bold choices made by Doran in this production. Perhaps the most clear and successful way in which Doran makes this play palatable for modern audiences is rightfully making the tone of the play much darker than its original position as a pure comedy. Instead, there’s a (mostly) clear differentiation between the darkness of the central tale of a powerful man abusing his power, and the more comedic parts of the play.  

Other choices in the adaptation don’t go so well. The play is shifted forward into the early 20th century, but it never seem clear as to why. Whilst the early 20th century costume and set designed by Stephen Brimson-Lewis look good, they don’t feel like they add much to the production, with the whole time-change feeling superficial. Simon Spencer’s lighting follows the same lines, creating some incredibly interesting visuals which are criminally underused. Additionally, whilst the adaptation takes the plight of the central character Isabel more seriously, it seems like they can never seem to decide whether to treat the criminilisation of sex workers as cruel or comedic, instead hitting an uneasy middle ground on an issue which has real current relevance.

Perhaps the saving grace of the production is its performances, with several of the actors commanding the stage, and the tone of the production. The two stand-out stars are Lucy Phelps and David Ajao (as Pompey, a pimp and hustler) – polar opposites who steal any scene they’re in. Phelps incredibly effectively conveys what affect the play’s central dilemma has on Isabel, with many deeply moving moments. Ajao is the pinnacle of the comedic side of the play, managing to epitomise the ‘charming ruffian’ and completely commanding the audience’s attention at all times and often bringing life back into the audience after the all-too-frequent dull stretches  Although, I do question the seemingly arbitrary decision to make Ajao’s Pompey from the Carribean - especially given how Ajao is a Londoner and all the other actors appeared to be talking in their local accents. Antony Byrne is also pretty likeable as the righteous and scheming Duke and Joseph Arkley is perfectly slimy as the two-faced Lucio, with most of the other actors being serviceable.

The task of adapting A Measure For A Measure is certainly a tall one, however in many ways this feels like a production of half-measures, which motions towards bold choices but never fully takes them. Whilst this is clearly an important production in 2019, the RSC’s A Measure For A Measure never quite hits the mark.

Header Image Credit: Helen Maybanks RSC

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Oluwatayo Adewole

Oluwatayo Adewole Contributor

Hey there! I'm a wordy-type who's into all kinds of stuff, but especially: film, comics, theatre and trying to make the world a better place

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